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Journal : humaniora

SENI BELUK PRESERVATION IN CIKONDANG INDIGENOUS VILLAGE REVIEWED FROM THE PERSPECTIVE OF MUSIC EDUCATION Cipta, Febbry; Gunara, Sandie; Sutanto, Toni Setiawan
Humaniora Vol 11, No 1 (2020): Humaniora (In Press)
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v11i1.6099

Abstract

The research was conducted to develop a music model based on local wisdom. Through this article, researchers at Cikondang village, Pangalengan, West Java. The research problem was that, along with the changing times, the next generation tended to ignore the values of local wisdom. So that through music learning, the values of art could be understood and actualized in everyday life. Music (nembang and ngabeluk) became a medium to express values in pupuh verses, which contained wawacan about the relationship between man and their God; man and others; and man and their surroundings. The data collection was done using observation, interview, and literature review then analyzed with the music education approach. The obtained results reveal that the learning process of seni beluk in Cikondang Village has taken place in the context of community education, which is done informally, and formed naturally. There is no invitation or coercion from the elders to the next generation to learn this art form. Meanwhile, for people from the next generation who has a passion for learning, the learning steps do not only train their techniques, but they also learn about the values ingrained in the pupuh verses.
Seni Beluk Cikondang Indigenous Village Reviewed from the Perspective of Music Education Febbry Cipta; Sandie Gunara; Toni Setiawan Sutanto
Humaniora Vol. 11 No. 1 (2020): Humaniora
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v11i1.6099

Abstract

The research was conducted to develop a music model based on local wisdom at Cikondang village, Pangalengan, West Java. The research problem was that, along with the changing times, the next generation tended to ignore the values of local wisdom. Therefore, through music learning, the values of art could be understood and actualized in everyday life. Music (nembang and ngabeluk) became a medium to express values in pupuh verses which contained wawacan about the relationship between man and their God, man, and others, and man and their surroundings. The data collection was done using observation, interview, and literature review then analyzed with the music education approach. The obtained results reveal that the learning process of seni beluk in Cikondang Village has taken place in the context of community education which is done informally, and formed naturally. There is no invitation or coercion from the elders to the next generation to learn this art form. Meanwhile, for people from the next generation who has a passion for learning. The learning steps do not only train their techniques, but they also learn about the values ingrained in the pupuh verses.
“Wilet” as the Temporal Framework of Gending in Sundanese Karawitan Toni Setiawan Sutanto; Marsel Ridky Maulana
Humaniora: Journal of Indonesia Culture and Society Vol. 17 No. 2 (2026): Humaniora: Journal of Indonesian Culture and Society (In Press)
Publisher : Bina Nusantara University

Show Abstract | Download Original | Original Source | Check in Google Scholar | DOI: 10.21512/humaniora.v17i2.14247

Abstract

In Sundanese karawitan, the concept of wilet holds a central role as it defines the temporal and rhythmic framework of gending compositions. Several hierarchical levels of wilet exist, namely sawilet, dua wilet, and opat wilet, each indicating variations in the number of beats, tempo, and the span of time between goongan. This research seeks to investigate the temporal-rhythmic structure of Sundanese karawitan by analyzing these levels of wilet and their application across different gending forms. Employing a descriptive-analytical design with a musicological perspective, the study draws on data from a literature review, performance observations, and musical transcription analysis. The findings reveal that the gradations of wilet not only determine the duration between goongan but also shape the overall tempo and rhythmic nuances of the music. Moreover, kendangan techniques such as salancar and rangkep significantly contribute to establishing the musical character and rhythmic articulation that distinguish one wilet level from another. The study underscores that wilet in Sundanese karawitan should be understood as a dynamic and context-dependent musical structure shaped by performer interpretation, compositional form, and cultural practice rather than a mere metric system. A deeper understanding of wilet is thus essential for pedagogy, documentation, and the safeguarding of Sundanese karawitan, while also opening avenues for future inquiries into the interrelation of musical aesthetics, instrumental technique, and performance practice.